(March 2013, updated for Synthesis Workshop February - March 2014, ASU)
SCENARIOS
Scatter / gather
Your shadow splits. The shadows run way from you. The shadows quiver with tension & intention.
Follow spot lights you up. Other spots lurk in the shadows, come after you with persona.
(Use Julian's rhythm abstractions to record corporeal/ analog movements, and playback. Use analog rhythms as cheap way to get huge variety of very subtle NON-regularity to avoid dead mechanical beats. Also can improvise. )
Freeze
Deposit snapshots of yourself.
Use "flash" timing : charging increase in tension. Snap!
Alternatively: NO tension, just fill zone with flashes.
Use MF VP8 to take webcam images and project them kaleidoscopically throughout zone, with time warp, delay, reversals.
Sutures
The world is fissured, and sutured: as you walk you see/hear into discontiguous parts of the room.
Portals! Use MFortin's VP8, + Jitter intermediation, eg timespace to introduce time dilation effects).
Motion, oil slick, molasses
Every action is weighted down, slooooooowwwweeedd asymptotically but never quite stilling. Every action causes all the pieces of the world to slide as if on air hockey table, but powered so they accelerate like crazy : Map room to TORUS so the imagery is always visible. Use zeno-divide-in-half or any tunable asymptotic (Max expr object) to decellerate or accelerate.
Blur wind
Fray actions, images, sounds into noise
(e.g. ye olde jit.streak + feedback example )
Vortex, dizzy
Spin the world -- every linear movement or "line" of sound becomes drawn into a giant vortex, that sucks into the earth. OR reverse.
Stepped video-strobe in the concentric rings, tunable by OSC + Midi sliders like everything.
Brittle, crack
Need to step carefully. If not, hear and see pending catastrophe: cracking ice underfoot ...
Or sometimes pure acoustic in darkness or whiteout strobe.
Use Navid’s adaptive scaler to shrink sensitivity down to smallest movement causing catastrophe in strobe + massive sound. Use subs to add pre-preparatory sound like Earth grinding her teeth before breaking loose.
Stasis ( hot or cold )
Sitting in the bowl of the desert (Sahara or Himalayas )
No-time sonic and field. Noise-field, snow blindness video (black or white majority), or BillViola ultra-slow-mo? (better than 25-1 speed reduction, with no motion-blur)?
Use heat lamps or fans, to subtly add heat or cold ?
Repetition
Visual -- take video from a given location, but send to multiple locations (using VP8 + repeated stills) or map to OpenGL polygons...
Audio -- use OMAX, with coarse grain
Infection / Dark Light
Use video, e.g. use particles -- thickened as necessary -- as sources of light. Cluster around movement or around bodies presence as source of light.
MECHANICS
IMPORTANT OZONE ARCHITECTURE (Julian with MF, working with Navid, Jerome, Omar’s instruments): Each of your instruments should expose key parameters to be tunable by OSC + Midi sliders, so someone OTHER than programmer can play with the instruments qualitatively. OSC gives access to handheld MF’s Max/iOS client so we can walk around IN the space under the effects and vary the instruments IN SITU, LIVE.
ALSO: Crucial that any TML experimentalist can walk in with her / his laptop, tap into the video feed, and emit her own video into the projectors, and control where her video shows up, an with what alpha blend. S/he must be able to do this without Jerome babysitting on call 24 x 7.
Ditto sound & lighting & OSC feed -- Julian’s got good design for this. Navid for sensor channels. I hope the sensor channels work transparently on top of Julian’s OSC resource discovery code.